Celtic Revival

The Celtic Revival (also referred to as the Celtic Twilight or Celtomania) was a variety of movements and trends in the 19th and 20th centuries that saw a renewed interest in aspects of Celtic culture. Artists and writers drew on the traditions of Gaelic literature, Welsh-language literature, and so-called ‘Celtic art’—what historians call Insular art (the Early Medieval style of Ireland and Britain). Although the revival was complex and multifaceted, occurring across many fields and in various countries in Northwest Europe, its best known incarnation is probably the Irish Literary Revival. Here, Irish writers including William Butler Yeats, Lady Gregory, “AE” Russell, Edward Martyn and Edward Plunkett (Lord Dunsany) stimulated a new appreciation of traditional Irish literature and Irish poetry in the late 19th and early 20th century.

In many, but not all, facets the revival came to represent a reaction to modernisation. This is particularly true in Ireland, where the relationship between the archaic and the modern was antagonistic, where history was fractured, and where, according to Terry Eagleton, “as a whole [the nation] had not leapt at a bound from tradition to modernity”. At times this romantic view of the past resulted in historically inaccurate portrayals, such as the promotion of noble savage stereotypes of the Irish people and Scottish Highlanders, as well as a racialized view that referred to the Irish, whether positively or negatively, as a separate race.

Perhaps the most widespread and lasting contribution of the revival was the re-introduction of the High cross as the Celtic cross, which now forms a familiar part of monumental and funerary art over most of the Western world. Though, there has been criticism to the unified concept of Celtic culture.

Antiquarian researches into the Gaelic and Brittonic cultures and histories of Britain and Ireland gathered pace from the late 17th century, with people like Owen Jones in Wales and Charles O’Conor in Ireland. The key surviving manuscript sources were gradually located, edited and translated, monuments identified and published, and other essential groundwork in recording stories, music and language done.

The Welsh antiquarian and author Iolo Morganwg fed the growing fascination in all things Brittonic by founding the Gorsedd, which (along with his writings) would in turn spark the Neo-druidism movement.

Interest in Scottish Gaelic culture greatly increased during the onset of the Romantic period in the late 18th century, with James Macpherson’s Ossian achieving international fame, along with the novels of Sir Walter Scott and the poetry and song lyrics of the London-based Irishman Thomas Moore, Byron’s friend and executor. Throughout Europe, the Romantic movement inspired a great revival of interest in folklore, folk tales, and folk music; even Beethoven was commissioned to produce a set of arrangements of Scottish folk-songs. As elsewhere, in what was then the United Kingdom of the whole archipelago, this encouraged and fed off a rise in nationalism, which was especially intense in Ireland.

In the mid-19th century the revival continued, with Sir Samuel Ferguson, the Young Ireland movement, and others popularising folk tales, dubious works of history, and other material in all the nations with a claim to be ‘Celtic’. At the same time, archaeological and historical work was beginning to make progress in constructing a better understanding of regional history. Interest in ornamental ‘Celtic’ art developed, and ‘Celtic’ motifs began to be used in all sorts of contexts, including architecture, drawing on works like the Grammar of Ornament by (another) Owen Jones. Imitations of the ornate Insular penannular brooches of the 7–9th centuries were worn by Queen Victoria among others from the late 1840s, many produced in Dublin by West & Son and other makers.

In Scotland were John Francis Campbell’s (1821-1885) works the bilingual Popular Tales of the West Highlands (4 vols., 1860–62) and The Celtic Dragon Myth, published posthumously in 1911. The formation of the Edinburgh Social Union in 1885, which included a number of significant figures in the Arts and Craft and Aesthetic movements, became part of an attempt to facilitate a ‘Celtic’ Revival in Scotland, similar to that taking place in contemporaneous Ireland, drawing on ancient myths and history to produce art in a modern idiom. Key figures were the philosopher, sociologist, town planner and writer Patrick Geddes (1854–1932), the architect and designer Robert Lorimer (1864–1929) and stained-glass artist Douglas Strachan (1875–1950). Geddes established an informal college of tenement flats for artists at Ramsay Garden on Castle Hill in Edinburgh in the 1890s. Among the figures involved with the movement were Anna Traquair (1852–1936), who was commissioned by the Union to paint murals in the Mortuary Chapel of the Hospital for Sick Children, Edinburgh (1885–86 and 1896–98) and also worked in metal, illumination, illustration, embroidery and book binding. The most significant exponent of the artistic revival in Scotland was Dundee-born John Duncan (1866–1945). Among his most influential works are his paintings of Celtic subjects Tristan and Iseult (1912) and St Bride (1913). Duncan also helped to make Dundee a major centre for the Celtic Revival movement along with artists such as Stewart Carmichael and the publisher Malcolm C MacLeod.

The Irish Literary Revival encouraged the creation of works written in the spirit of Irish culture, as distinct from English culture. This was, in part, due to the political need for an individual Irish identity. This difference was kept alive by invoking Ireland’s historic past, its myths, legends and folklore. There was an attempt to re-vitalize the native rhythm and music of Irish Gaelic. Figures such as Lady Gregory, WB Yeats, George Russell, J .M. Synge and Seán O’Casey wrote many plays and articles about the political state of Ireland at the time. Gaelic revival and Irish nationalism frequently overlapped in places such as An Stad, a tobacconist on North Frederick Street owned by the writer Cathal McGarvey and frequented by literary figures such as James Joyce (although Joyce was thoroughly contemptuous of the movement, feeling it betrayed the realities of urban Ireland) and Yeats, along with leaders of the Nationalist movement such as Douglas Hyde, Arthur Griffith and Michael Collins. These were connected with another great symbol of the literary revival, The Abbey Theatre, which served as the stage for many new Irish writers and playwrights of the time.

In 1892, Sir Charles Gavan Duffy said,

“A group of young men, among the most generous and disinterested in our annals, were busy digging up the buried relics of our history, to enlighten the present by a knowledge of the past, setting up on their pedestals anew the overthrown statues of Irish worthies, assailing wrongs which under long impunity had become unquestioned and even venerable, and warming as with strong wine the heart of the people, by songs of valour and hope; and happily not standing isolated in their pious work, but encouraged and sustained by just such an army of students and sympathizers as I see here to-day”.

The Celtic Revival (also often referred to as the “Celtic Twilight”) was an international movement. The Irish-American designer Thomas Augustus “Gus” O’Shaughnessy made a conscious choice to use Irish design roots as well as Art Nouveau influences in his artwork. Trained in stained glass and working in an Art Nouveau style, O’Shaughnessy designed a series of windows and interior stencils for Old Saint Patrick’s Church in Chicago, a project begun in 1912 and completed in 1922. Louis Sullivan, the Chicago architect, incorporated dense Art Nouveau and ‘Celtic’-inspired interlace in the ornament of his buildings. Sullivan’s father was a traditional Irish musician and they both were step-dancers, which suggests that his creativity was not rooted only in his official education. In England, the Watts Mortuary Chapel (1896–98) in Surrey was a thoroughgoing attempt to decorate a Romanesque Revival chapel framework with lavish Celtic reliefs designed by Mary Fraser Tytler.

The “plastic style” of early ‘Celtic’ art was one of the elements feeding into Art Nouveau decorative style, very consciously so in the work of designers like the Manxman Archibald Knox, who did much work for Liberty & Co., especially for the Tudric and Cymric ranges of metalwork, respectively in pewter and silver or gold. Many of the most extravagant examples of the plastic style come from the modern Czech Lands and influenced the Czech Art Nouveau designer and artist Alphonse Mucha (Mucha, in turn, influenced the Irish-American O’Shaughnessy, who had attended a series of Mucha’s lectures in Chicago). Interlace, (a.k.a Entrelac) which is still seen as a “Celtic” form of decoration—somewhat ignoring its Germanic origins and equally prominent place in Anglo-Saxon and Scandinavian medieval art—has remained a motif in many forms of popular design, especially in Celtic countries and above all Ireland, where it remains a national style signature. In recent decades, it had a re-revival in 1960s designs (for example, in the Biba logo) and has been used worldwide in tattoos and in various contexts and media in fantasy works with a quasi-Dark Ages setting. The Secret of Kells is an animated feature film of 2009 set during the creation of the Book of Kells which makes much use of Insular design.

In France, sublime descriptions of Celtic landscape were found in the works of Jacques Cambry. The Celtic Revival was strengthened by Napoleon’s idea that the “French were a race of empire-building Celts,” and became institutionalized by the foundation of the Académie Celtique in 1805, by Cambry and others.

Linguistic revivals, after 1920

The Welsh language has been spoken continuously in Wales throughout recorded history, and in recent centuries has been easily the most widely-spoken Celtic language. But by 1911 it had become a minority language, spoken by 43.5% of the population. While this decline continued over the following decades, the language did not die out. By the start of the 21st century, numbers began to increase once more.

The 2004 Welsh Language Use Survey showed that 21.7% of the population of Wales spoke Welsh, compared with 20.8% in the 2001 census, and 18.5% in 1991. The 2011 census, however, showed a slight decline to 562,000, or 19% of the population. The census also showed a “big drop” in the number of speakers in the Welsh-speaking heartlands, with the number dropping to under 50% in Ceredigion and Carmarthenshire for the first time. According to the Welsh Language Use Survey 2013-15, 24% of people aged three and over were able to speak Welsh.

Historically, large numbers of Welsh people spoke only Welsh. Over the course of the 20th century this monolingual population “all but disappeared”, but a small percentage remained at the time of the 1981 census. In Wales, 16% of state school pupils now receive a Welsh medium education, and Welsh is a compulsory subject in English medium schools, up to the age of 15-16.

Due to the revival of Irish in educational settings and bilingual upbringing, there has been an increase in young Irish people speaking the language in the Republic of Ireland and Northern Ireland. It is said it is more common to hear it spoken in Irish cities. Additionally, there is a “modest” revived interest in North America in learning Irish.

Galicia also had its own Celtic revival. During the dictatorship of Francisco Franco, all forms of regional culture were suppressed in favor of a unified “Spanish culture” that was heavily based on Andalusian culture (although Franco himself was Galician). This lasted until Franco’s death in 1975, when the King was restored to power and all Spanish regional cultures were allowed to flourish once again. Prominent Galician Celtic musicians include Carlos Núñez, Luar na Lubre and Susana Seivane. Currently, the Gallaic Revival Movement is seeking to revive the Gallaic language, also known as the Galician/Gallaecian language, for everyday use. Neighboring northern Portugal is also undergoing a Celtic revival.

Welsh in Argentina
Welsh is spoken by over 5,000 people in Chubut province of Argentina. Some districts have recently incorporated it as an educational language.

Nova Scotia
Nova Scotia contains the largest population of Celtic people in america holding the largest population of Scots Gaelic speakers outside of Scotland

Also Breton is still spoken to a lesser extent in Cape Breton, it is also home to the only Celtic language outside of Europe, Canadian Gaelic

Main article: Cornish language revival
The term Celtic Revival is sometimes used to refer to the Cornish cultural Celtic revival of the early twentieth century. This was characterised by an increased interest in the Cornish language started by Henry Jenner and Robert Morton Nance in 1904. The Federation of Old Cornwall Societies was formed in 1924 to “maintain the Celtic spirit of Cornwall”, followed by the Gorseth Kernow in 1928 and the formation of the Cornish political party Mebyon Kernow in 1951. This revival has spread towards Northern England, with the attempted reconstructions of numerous types of bagpipe (such as the Lancashire Great-pipe) and an increased interest in the Northumbrian smallpipes. There are also attempts to reconstruct the Cumbric language, the ancient Brythonic language of Northern (particularly Northwestern) England, a remnant of the Brittonic kingdoms of Hen Ogledd.

Cumbric was a variety of the Common Brittonic language spoken during the Early Middle Ages in the Hen Ogledd or “Old North” in what is now Northern England and southern Lowland Scotland. It was closely related to Old Welsh and the other Brittonic languages. Place name evidence suggests Cumbric may also have been spoken as far south as Pendle and the Yorkshire Dales. The prevailing view is that it became extinct in the 12th century, after the incorporation of the semi-independent Kingdom of Strathclyde. In the 2000s, a group of enthusiasts proposed a revival of the Cumbric language and launched a social networking site and a “revived Cumbric” guidebook to promote it, but with little success. Writing in Carn magazine, Colin Lewis noted that there was disagreement in the group about whether to base “revived Cumbric” on the very few surviving sources for the language or

In 1925, Professor Roparz Hemon founded the Breton-language review Gwalarn. During its 19-year run, Gwalarn tried to raise the language to the level of a great international language. Its publication encouraged the creation of original literature in all genres, and proposed Breton translations of internationally recognized foreign works. In 1946, Al Liamm replaced Gwalarn. Other Breton-language periodicals have been published, which established a fairly large body of literature for a minority language.

In 1977, Diwan schools were founded to teach Breton by immersion. They taught a few thousand young people from elementary school to high school. See the education section for more information.

The Asterix comic series has been translated into Breton. According to the comic, the Gaulish village where Asterix lives is in the Armorica peninsula, which is now Brittany. Some other popular comics have also been translated into Breton, including The Adventures of Tintin, Spirou, Titeuf, Hägar the Horrible, Peanuts and Yakari.

Some original media are created in Breton. The sitcom, Ken Tuch, is in Breton. Radio Kerne, broadcasting from Finistère, has exclusively Breton programming. Some movies (Lancelot du Lac, Shakespeare in Love, Marion du Faouet, Sezneg) and TV series (Columbo, Perry Mason) have also been translated and broadcast in Breton. Poets, singers, linguists, and writers who have written in Breton, including Yann-Ber Kalloc’h, Roparz Hemon, Anjela Duval, Xavier de Langlais, Pêr-Jakez Helias, Youenn Gwernig, Glenmor and Alan Stivell are now known internationally.

Today, Breton is the only living Celtic language that is not recognized by national government as an official or regional language.

The first Breton dictionary, the Catholicon, was also the first French dictionary. Edited by Jehan Lagadec in 1464, it was a trilingual work containing Breton, French and Latin. Today bilingual dictionaries have been published for Breton and languages including English, Dutch, German, Spanish and Welsh. A new generation[clarification needed] is determined to gain international recognition for Breton. The monolingual dictionary, Geriadur Brezhoneg an Here (1995), defines Breton words in Breton. The first edition contained about 10,000 words, and the second edition of 2001 contains 20,000 words.

In the early 21st century, the Ofis ar Brezhoneg (“Office of the Breton language”) began a campaign to encourage daily use of Breton in the region by both businesses and local communes. Efforts include installing bilingual signs and posters for regional events, as well as encouraging the use of the Spilhennig to let speakers identify each other. The office also started an Internationalization and localization policy asking Google, Firefox and SPIP to develop their interfaces in Breton. In 2004, the Breton Wikipedia started, which now counts more than 50,000 articles. In March 2007, the Ofis ar Brezhoneg signed a tripartite agreement with Regional Council of Brittany and Microsoft for the consideration of the Breton language in Microsoft products. In October 2014, Facebook added Breton as one of its 121 languages. after three years of talks between the Ofis and Facebook.

In the Auvergne (province) chants are sung around bonfires remembering a Celtic god. There are also modern attempts to revive the polytheistic religion of Gauls,

this is also a hotpot for Gaulish revival, here and the Limousin having the most Gaulish records and being the legendary home of Vercingetorix,

Currently 338 people here speak or have some knowledge of the Gaulish language.

Other Areas
The Gaulish language used to be widely spoken in France and beyond. In recent times there have been attempts at revivals, despite very limited evidence for the exact original form of the language. Eluveitie is a metal band whom most of their songs are in a revived Gaulish.

Irish Gaelic or Anglo-Irish?
Nearly all poets attributed to the Irish Renaissance wrote exclusively in English . This is in sharp contrast to efforts by the Gaelic League, for example, to restore the Irish language as a national and everyday language. The origin of most of the participants, however, was urban and often Protestant. Few had close contacts with the also mostly English-speaking, simple people in the countryside. The Irish language was as foreign to them as most Englishmen. Feeling Irish, thinking Irish, and writing Irish, as they intended, had little to do with the Irish language at the end of the nineteenth century. The literary scene increasingly parted with the very active language movement.

Nevertheless, shortly after the turn of the century, the first works of modern Irish-language literature emerged. This literature was a deliberate re-creation of the Irish language movement and has been actively supported financially and socially since the founding of the Irish Free State in 1922 until today. Already in 1904 appeared with Séadna , a kind of Faust version of Father Peadar Ua Laoghaire , the first literary and linguistically influential novel of modern Irish-language literature. Pádraic Ó Conaire published in 1910 the novel Deoraidheacht (“Exile”), which describes life in exile in England, while maintaining a consistently modern style. But modernity took several decades to make it into Irish-language literature. Only with Máirtín Ó Cadhain (1906-1970) and various authors from the 1960s and 1970s did Irish literature become a small but “normal” international literature.

The Irish Renaissance was already very diverse, and it was shared in the language question as well. There were apparently few personal contacts between authors of the two languages, but at least the English-language works were received by Irish-speaking authors. Both areas, however, proved to be extremely fertile for subsequent Irish literature.

National or international?
Much of the early involvement of this “movement” focused on giving Ireland self-image and self-confidence. The nation needed to be told what and who she was, where she came from. Often, explanation was more a dream image than a mirror, but this inward look dominated the cultural self-image far beyond the mid-20th century.

For writers like Joyce, Beckett, O’Casey, Ó Conaire, and Ó Cadhain, who did not agree with these limitations, it was often very difficult or even impossible to prevail in Ireland with more cosmopolitan and modern approaches and ideas. Those writing in English often received more fame and recognition abroad than in Ireland.

However, in this review, it should not be forgotten that Yeats, Lady Gregory, Hyde, and others faced the self-imposed task of creating something completely new in the late nineteenth century. Although from today’s point of view much (pseudo-) romantic and irrational effect, these authors have laid the foundation for modern Irish literature. It may have been their books that created the premise that Joyce, Beckett, and later Austin Clarke or Denis Devlin were able to set themselves apart consciously from this kind of late-romanticism and follow internationally-oriented paths.

Slowing down the movement
After the Irish movement, in particular the Gaelic League in the first decade of the 20th Century enormous membership figures show or could build on broad support, this slackened off after the achievement of independence in 1922 quite soon. Although the Irish language was officially installed as the first language of the new state, the number of native speakers could never be increased. However, with the introduction of compulsory subjects at state schools, Irish as a second language has become stronger than ever.

However, the quantity and quality of Irish literature in both English and Irish has not abated. The tremendous impetus of the “Renaissance movement” leaves its mark in Ireland to this day. The country is as well known for its numerous Nobel laureates as for the wide acclaim that most writers and poets enjoy in public life . Since the 1970s, Irish-language literature has recorded more publications than ever before.

Source From Wikipedia